| Track: | Rating: | ||||
|---|---|---|---|---|---|
| 1. Mistake | | | | ||
| 2. In High Places | | | | ||
| 3. Foreign Affair | | | | ||
| 4. Taurus 3 | | | | | |
| 5. Shadow On the Wall | | | | ||
| 6. Moonlight Shadow | | | | | |
| 7. Crises | | | | | |
Mike Oldfield is best known as the creator of Tubular Bells, the 1973 Virgin Records classic which provided "The Exorcist" with its eerie theme music. Through this album, and its subsequent revampings, Oldfield has acquired a strong reputation for sonic experimentation. Many listeners who have little interest in "progressive music" as such, have nevertheless marveled at his ability to fuse new technology and extended composition into a seemless whole.
In the early 1980s, however, Oldfield was operating on something of a different level. At this point in this career, he was given to releasing albums with one side of pop-oriented material, and the other devoted to a trademark epic suite. Crises, from 1983, fits comfortably into this category.
Perhaps too comfortably. Although the pop-oriented tracks on Side One are decent enough in their own right, they have a somewhat formulaic quality which prevents them from scaling really notable heights. And "Crises", the epic track on Side Two, is also disappointing in parts.
None of this can be blamed on Maggie Reilly, who gives excellent performances on her tracks. "Mistake" is a likeable specimen of 1980s prog-pop, which suffers only from its failure to be anything more. "Foreign Affair", which has a steadier groove than Oldfield is usually known for, is saved from mediocrity by Reilly's vocals -- especially in her tight elocution leading up to the choruses. And "Moonlight Shadow"(*), a major hit in Europe, has an engaging narrative to complement Reilly's voice. Oldfield's pop-craftsmanship perhaps works too well on these tracks, which are sometimes musically frivolous -- but Reilly rescues each of them.
(*subsequently covered by Annie Haslam -- see Tentative Review No. 22)
Jon Anderson's appearance on "In High Places" is good, but should have been better. His voice sounds a bit strained, as though the arrangement wasn't completely to his liking (his habit of adding "yeah" articulations at inappropriate moments doesn't help matters). The performance is perfectly listenable for a Yes fan (and the harmonics toward the end are incredible), but is ultimately only a half-successful experiment.
"Shadow On The Wall" is the weakest track on the album, as Roger Chapman's growly vocals mix with an "in your face" rock guitar line to produce a rather generic result. Some cool hooks exist in places (and it must be admitted that the chorus is somewhat catchy), but this is hardly an essential moment for any of the parties involved. (Note: This track was supposedly written about the Polish Solidarity movement. If so, it isn't apparent from the lyrics.)
"Taurus 3" is the only instrumental on the album, and perhaps the best song of the lot. On par with Oldfield's earlier experiments, this track is simply a pleasure to listen to -- and the Spanish guitar lines reportedly helped him acquire a greater fanbase in that country. Listening to this, one wonders why he decided to "go pop" in the first place.
(Note: "Taurus" appears on QE2; "Taurus 2" on Five Miles Out).
As for "Crises" itself ... it has its moments, but these don't add up well enough for the piece to be really special. Atmospheric passages mingle with acoustic guitars mingle with blues sections mingle with moments of pristine prog-pop ... enjoyable as the individual sections often are, it all seems a bit unfocused. Oldfield's minimalist vocals are decent, but not world-class (there's a reason why he usually relies on guest vocalists, it would seem). Only the last five minutes of the track are top-rate, and, by that time, it's a bit too late.
The album is enjoyable on its own merits, and is certainly recommended to Oldfield fans, but is not representative of his best work. Five Miles Out makes for a better introduction to Oldfield's early '80s period.
(review originally posted to alt.music.yes on 10 Nov 1999)